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How to Collect Art

June 22, 2013 — Leave a comment

Collect what you love and artists that you admire and want to support. Educate yourself so you know at least the bare minimum of what has been produced in the history of art so you know your not buying a copycat art (and quite possibly worthless).

I collect works that move me and from artists I respect and admire. The works also have what I call the “onion effect” which is the more you look, the more layers of meaning present themselves – (as if you are peeling an onion one layer of skin at time).

This is how I make images and this is how I collect but if I did not have years and years of education in the arts I would work with either a collector or a reputable gallery with years and years of experience.  They will save you a small fortune.

If you want to play with the big boys and girls how do you know if a gallery is good and established? Start with ArtNet which is THE site for the art establishment. If you are not on Artnet as a gallery or artist then you are probably not being collected or selling much collectable work. It is the only art world that matters and the only site you can not just “sign up” – and it’s a very small club whether we like it or not. Each major city in the world only has a few of these gallery’s in it. It’s where I go to find new galleries to sell my work and to look at artists and see what their work is going for.

The last place to learn is the major art fairs like Art Basel etc and satellite fairs that follow them. Here is where you can really see what is what. But again there is a ton of junk even at the highest levels. Once you develop an educated eye you can detect it. Until then find an expert and collect artists actually being collected by museums.

 Blogs:

Fairs:

“This contest, which is targeted at students and emerging photographers, appears to be an effort to secure thousands of free images for unlimited use in publications and in advertising. For this reason, we believe this contest exploits photographers, and we strongly caution everyone to carefully review and understand all the terms and conditions along with the rights they are surrendering before entering any competition.”

via Photo Contest Warning! | Photo Attorney

Please email the panelist at links below and demand to know why they are involved in this mass rip-off of copyright!

PANELISTS INCLUDE:
Tomas Maier, Creative Director, Bottega Veneta; Ivan Shaw, Photography Director, Vogue; Linda Evangelista, Supermodel; Carlyne Cerf De Dudzeele, Fashion Editor & Stylist; Collier Schorr, Photographer; Pat McGrath, Makeup Artist; Andrew Bolton, Curator, Costume Institute at the Metropolitan Museum of Art; Craig McDean, Photographer; Doug Lloyd, Creative Director, Lloyd & Co; Guido Palau, Hair stylist; Yossi Milo, Gallerist and Jimmy Moffat, Founding Partner, Art & Commerce.

via Vogue

Want to do something about this?

2 judges have Facebook pages you can post to:

https://www.facebook.com/PatMcGrathFans
https://www.facebook.com/pages/Collier-Schorr/126548330645

Email links:

David_Stuckey@condenast.com

info@yossimilo.com
info@lloydandco.com
info@artandcommerce.com
info@303gallery.com

Message Example:

To All,

Regarding the Vogue Photo contest you or your representatives are judging or promoting . It might be a good idea to distance yourself from this kind of exploitation.

I am sure you did not go into this knowing how bad it is for the young photographers who loose all copyright to their images and for the working pro’s as well (who would of been hired).

In my opinion all judges should step down or force Vogue to change the rules of the contest and allow all rights to remain in the hands of the artists. Until then this is a very ugly contest that only rewards big business at the expense of the young and talented.  Here is your chance to do good!

Sincerely mad as hell,

Your name here…

21st Editions creates what many consider to be the most elegant photographic art books in the world. Our fine books and portfolios have been purchased by major collectors and museums from around the world. Our titles are illustrated with signed original photographs in platinum and silver. Each book is handmade, one at a time, using the finest papers, bindings, and often, letterpress printing. They are published in very small editions, and are individually signed by the artists and writers.

via the web site

 

A national wrap up of all the attempts at squashing the press lately..

It is an artist’s prerogative as to whether or not they will allow photography of their performances. A photo ban is one thing but it appears that Beyoncé wishes to have her cake and eat it too. She still wants photographic coverage but only wants to release images of her own choosing. The NPPA believes that this is improper and we have said so in our letter to her publicist.

We also believe that once it becomes apparent that news organizations are willing to accept this type of policy and use handout photos it will only encourage others to follow suit. The danger in this type of “infotainment” is that the public will be denied the information and images that come from independent news gathering and the media will be relegated to being nothing more than aggregators of sanitized material provided by public relations firms and press secretaries. This point is best illustrated in a joint protest by the NPPA and the White House News Photographers (WHNPA) Association regarding the photo manipulation of an official photograph made available for distribution by House Minority Leader Nancy Pelosi’s office.

via Photography & the Law – Beyonce’ and Beyond: A Roundup of Recent Legal Issues – JPG News.

Unless you actually were busy shooting or live under a rock you might of heard that Yahoo CEO Marissa Mayer thinks we don’t need pro photographers anymore.

Best comeback in defense of all pro’s:

If we don’t need pro photographers because everyone has a camera on their phone then we obviously don’t need professional chefs anymore because of the infinite availability of bowls and spoons.

Top reasons you need a pro:

  • It takes about 10 years of training to really know how to shoot and light many different kinds of products and subjects.
  • Pro’s actually use very expensive lighting and know how to shape it. (If you don’t know what that means you already are using the wrong person…)
  • Pro’s have a vast arsenal of lens and cameras to make sure the image is the right image for the project. Believe it or not the “everything in focus look” the iPhone provides are really bad for most advertising shots. Why? There is no separation of subject and background.
  • Pros don’t teach themselves on the Internet. Most learned via the Master & Pupil method in the actual world:  which means they assisted for years with seasoned pros who taught them their craft.
  • Pros know how to manipulate the way you look at an image. Which means they can bring attentions to what needs to be noticed and diminish the background visual noise.
  • Pro’s know how the language of photography can be used to help you get your message out clearly.
  • Pro’s know how to take a drawing of an idea and make it a reality.
  • Pro’s understand conceptually how a photograph communicates your ideas best. It is with this knowledge that a pro can help you separate your company from the pack.